DOCSLIB.ORG

Engagement Paper for Hybrid Format Film Meat

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Engagement Paper for Hybrid Format Film Meat Engagement Paper for Hybrid Format Film Meat A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Media Production University of Regina By Xin Shen Regina, Saskatchewan March, 2017 Copyright 2016: X. Shen i UNIVERSITY OF REGINA FACULTY OF GRADUATE STUDIES AND RESEARCH SUPERVISORY AND EXAMINING COMMITTEE Xin Shen, candidate for the degree of Master of Fine Arts in Media Production, has presented a thesis titled, Engagement Paper for Hybrid Format Film Meat, in an oral examination held on December 15, 2016. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material. External Examiner: *Dr. Shannon Walsh, University of British Columbia Co-Supervisor: Prof. Gerald Saul, Department of Film Co-Supervisor: Prof. Mark Wihak, Department of Film Committee Member: Dr. Christine Ramsay, Department of Film Committee Member: **Dr. Christina Stojanova, Department of Film Chair of Defense: Dr. Troni Grande, Department of English *Via videoconference **Not present at defense Abstract After having suffered the pressure of being a single woman at the age of twenty-five when I was in China, I have made a hybrid format short film Meat to remember my personal experience as being a sheng nu (left-over woman). This engagement paper puts Meat into a theoretical, historical, and personal context. Through the personal-experience-based story, a sheng nu’s relationship with the society and her family will be explored, in an attempt to analyze the social, historical and political problems, faced by single Chinese women during this decade. The paper will also discuss how the creative choices behind the shooting, locations, actors, languages, props, and new technologies, combined with hybrid filmmaking, which includes animation, realist live-action and symbolic live-action, are used to build a complex portrait of young Chinese women today. i Acknowledgements I would like to express my gratitude to my supervisors Gerald Saul and Mark Wihak as well as Sarah Abbott for all the guidance that they gave me during the research and writing of this thesis project. I would also like to thank Christina Stojanova and Christine Ramsay, my committee members, whose rich knowledge have helped to contextualize my research and make my ideas more critical and insightful. Finally, I would like to thank the University of Regina for support through Faculty of Graduate Studies and Research Graduate Teaching Assistantship (2014), Saskatchewan Innovation and Opportunity Graduate Scholarship (2014), Faculty of Graduate Studies and Research Graduate Scholarship (2015 Spring), Faculty of Graduate Studies and Research Graduate Teaching Assistantship (2015), Faculty of Graduate Studies and Research Graduate Scholarship (2015 Fall), Saskatchewan Innovation and Opportunity Graduate Scholarship, Faculty of Graduate Studies and Research Graduate Scholarship (2016 Spring), Saskatchewan Innovation and Opportunity Graduate Scholarship (2016). ii Dedication To my parents, Lian Yang and Xushu Shen, my husband, Yan Luo and my friend Jia Hou, who grew together with me, I thank you. iii Table of Contents Abstract ............................................................................................................................................ i Acknowledgements ......................................................................................................................... ii Dedication ...................................................................................................................................... iii Table of Contents ........................................................................................................................... iv CHAPTER ONE: Introduction ...................................................................................................1 CHAPTER TWO: Methodology and Theory ............................................................................3 CHAPTER THREE: Contexts of Research Project .................................................................5 CHAPTER FOUR: Detailed Project Description ....................................................................13 4.1 Characters .......................................................................................................................14 4.2 Plot ..................................................................................................................................19 4.3 Conflict ...........................................................................................................................20 4.3.1 Gender Stereotypes and Conflicts ................................................................................21 4.3.2 The Subtexts underneath Conflicts ..............................................................................22 4.4 Actors ...............................................................................................................................24 4.5 Dialect ..............................................................................................................................28 4.6 Hybrid Aesthetics .............................................................................................................30 4.6.1 Animation Scene ...........................................................................................................30 4.6.2 Symbolism in Scenes ....................................................................................................33 4.6.3 Realist Live-action Scenes and the Cameras ................................................................37 CHAPTER FIVE: Conclusion ....................................................................................................41 WORKS CITED ..........................................................................................................................42 BIBLIOGRAPHY ........................................................................................................................44 iv APPENDIX A ...............................................................................................................................49 APPENDIX B ...............................................................................................................................51 v CHAPTER ONE: INTRODUCTION This paper discusses and contextualizes my ten minute short film entitled Meat, which I made to explore my conflicted feelings about sheng nu (leftover women) and to remember my trauma when I considered myself sheng nu at twenty-five-years-old. In this film, aside from the live action scenes, I have used an abstract environment and animation to externalize and visualize the pressure, and the feeling of isolation, depression, and helplessness that I had as a single woman. Semiotics are involved to analyze the signifiers and signified in this film. I have also used subtext through characters’ words, actions, backstories and costuming to communicate my memory of emotional pressure - many visualized by animation. This paper will also trace the influences from other films on Meat and discuss the development of animation technology, which helped me to create this film. The political background, gender stereotypes, social context, and traditional cultural impact of sheng nu, as well as my academic insights on the sheng nu phenomena have been illustrated in Meat and will be outlined in this paper. Theories of propaganda and gender are particularly useful in analyzing the sheng nu phenomenon. Through the creation of this project, I have made many unexpected discoveries, which have helped me to achieve academic, emotional, and artistic growth. When I was twenty-five-years-old, I suffered pressure from my family and friends as a single woman. I didn’t understand what had gone wrong but the differences between me and the women my age, who had already married and had babies, my family’s concerns, and the outside judgments – all made me feel very confused, anxious and depressed. In that period, to help me solve the “problem of being single”, I was forced to endure four blind dates arranged by my mother. My mother gave her relatives and friends my personal information such as age, height, job, and family background, and asked them to pass it on to the single men whom they knew 1 were looking for a woman to marry. Based on this general information, the single men evaluated whether I could be an ideal wife for them in the future, and decided whether or not to date me. The process of setting up a blind date always made me feel I was a product on a grocery shelf. This personal experience gave me the main idea for my film Meat: in China, a single woman is just like a product, a piece of meat, without dignity, displayed in the market for potential buyers. After I came to Canada, my close friend Jia Hou, who is the same age as me and still single, has continued to suffer judgments and pressures as a single woman. Jia would call me from China and tell me the terrible experiences that she was having with her family and the people around her because of her single status. After I “escaped” being a single woman (by getting married and leaving China) and left the pressure of my family behind, I found my inner peace again. With the theories of gender and propaganda that I have learned in my graduate studies, I can finally understand the roots of my frustration
Load more

Recommended publications
  • Absolutely Fabulous, 世均) Offer an Example of a Dreamy Celebrity Mar- Sodagreen (蘇打綠) Is That Rare Indie Band Riage Gone Sour
    14 發光的城市 A R O U N D T O W N FRIDAY, JANUARY 1, 2010 • TAIPEI TIMES BY AndreW C.C. HuanG MUSIC STOP COMPILED BY HO YI Chen (陳泰銘) held last Saturday? Never hap- Absolutely pened? And anyway, Chen was still married last time local paparazzi checked. As for Hong Kong’s former diva Cherie Chung (鍾楚紅), the 49-year-old widow personally denied the speculation about fabulous her upcoming wedding with a certain wealthy Jolin Tsai, below, businessman from Singapore. is moving on While Hou has found her Mr Right, Jolin from pretty-faced Tsai (蔡依林) is getting cozy with fast-rising idol Eddie Peng model Godfrey Kao (高以翔), whose previous to model Godfrey claim to fame was his pair of delectable pinkish Kao, right. nipples, which he flagrantly exposed in his photo PHOTOS: TAIPEI TIMES book. It’s only a matter of time before intimate comparisons will be made between Kao and Tsai’s old flame Jay Chou (周杰倫). So what is the Mando-pop king, self-made film director and occasional actor doing with his love life? Not much. Unless you count the banter and teasing exchanges between him and supermodel-turned-actress Lin Chi-ling (林志玲) during the promotions for the fantasy adventure The Treasure Hunter (刺陵). The way Pop Stop sees it, the real-life flirting between the two is more convincing that the on-screen romance that they share in the movie, which was killed by the embarrassingly coy lines and dumb jokes that filled the clunky script. Finally, model-turned-housewife Hung Hsiao-lei (洪曉蕾) and her CEO-husband Wang Shih-chun (王 ndisputedly talented and absolutely fabulous, 世均) offer an example of a dreamy celebrity mar- Sodagreen (蘇打綠) is that rare indie band riage gone sour.
    [Show full text]
  • My Life in My Country Pong Zhi Chan My Life I Lived in Guangzhou. I
    Class 2P: My Life in My Country Pong Zhi Chan My Life I lived in Guangzhou. I spent my childhood in Guangzhou. When I was seven years old, I went to Kwen Sin Elementary School and after that I went to No. 38 Middle School in 1968. I went to the countryside to be a farmer in 1980. Later I came back to Guangzhou to work in Nan Fong Hotel. In my free time, I went to the movies with my mother and father because I liked movies very much. Later my family immigrated to the U.S.A. My life is very simple because I don’t like to go anywhere. Xiu Jie Cui My Life in China I was born in Jilin, China. I have two brothers and two sisters. My family was big, but I was not happy because when I was twelve years old, my father passed away. So I didn’t have a happy childhood. I went to school for a total of ten years. I was a teacher. I worked hard. My classes had lots of students, so I had lots of stress. I didn’t have good health. Every day I felt tired. I worked for twenty-five years. I had a big home. My husband was a teacher too. He was a patient man. We had one son. I had a happy home. When I had free time, I cooked lots of food. I made some dumplings and put them in the freezer, so we could eat them anytime. It was convenient.
    [Show full text]
  • CHINA LITERATURE LIMITED 閱文集團 (Incorporated in the Cayman Islands with Limited Liability) (Stock Code: 772)
    THIS CIRCULAR IS IMPORTANT AND REQUIRES YOUR IMMEDIATE ATTENTION If you are in any doubt about this circular or as to the action to be taken, you should consult your stockbroker, bank manager, solicitor, professional accountant or other professional adviser. If you have sold or transferred all your shares in China Literature Limited, you should at once hand this circular to the purchaser or transferee or to the bank, stockbroker or other agent through whom the sale was effected for transmission to the purchaser or transferee. Hong Kong Exchanges and Clearing Limited and The Stock Exchange of Hong Kong Limited take no responsibility for the contents of this circular, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this circular. This circular appears for information purposes only and does not constitute an invitation or offer to acquire, purchase or subscribe for the securities. CHINA LITERATURE LIMITED 閱文集團 (Incorporated in the Cayman Islands with limited liability) (Stock Code: 772) (1) MAJOR AND CONNECTED TRANSACTION (2) CONSIDERATION ISSUE UNDER SPECIFIC MANDATE (3) CONTINUING CONNECTED TRANSACTIONS AND NOTICE OF EXTRAORDINARY GENERAL MEETING Exclusive Financial Adviser to the Company Independent Financial Adviser to the Independent Board Committee and the Independent Shareholders SOMERLEY CAPITAL LIMITED A notice convening the Extraordinary General Meeting of China Literature Limited to be held at Salon 1-4, Level 3, JW Marriott Hotel Hong Kong, Pacific Place, 88 Queensway, Hong Kong on Friday, October 19, 2018 at 9:30 a.m.
    [Show full text]
  • Shanghai and Beijing Travel Report 2010
    Shanghai International Film Festival and Market, Shanghai and Beijing meetings Report by Chris Oliver and Ross Matthews To report that the China screen landscape is undergoing change is not new news. All facets of the screen industry development, production, distribution, exhibition and broadcasting are going through change – a change that is in a positive direction. The change in the way the Chinese industry is engaging with the rest of world’s screen industries, including the way Government instrumentalities are relating to other countries (eg treaties) will be of real benefit to the Chinese and the international screen industry. Australia is well placed to benefit from those changes if (that’s capital IF) Australian producers/players understand the rules of engagement with Chinese producers, broadcasters and exhibitors and the Chinese government departments involved in implementing government policy. Why should Australia engage with China? There are obvious commercial reasons. Firstly, the Chinese gross box office (GBO) has increased by at least 30 per cent in the last year to US$909 million – and has now surpassed Australia to be number six in the world. According to those we had discussions with in China and what can be gleaned from the screen press, the China GBO will grow by at least a further 40 per cent in the 2010 calendar year! Secondly, China’s population has an ever-increasing level of Abbreviations disposable income to underpin AIDC Australian International Documentary Conference the cinema ticket price of $6–10: CCTV China Central Television TRAVELREPORT it’s been reported that middle CFCC China Film Co-production Corporation class numbers will exceed those CFGC China Film Group Corporation in the US by 2020.
    [Show full text]
  • CHINA DAILY for Chinese and Global Markets
    OLD MOBILES CHANCE RELATIONS LOTUS FROM SPACE Outlining the high stakes Flower seeds made Showroom opening to attract > p13 in future China-US ties a tour beyond Earth buyers of hand-assembled cars > ACROSS AMERICA, PAGE 2 > CHINA, PAGE 7 WEDNESDAY, June 19, 2013 chinadailyusa.com $1 The ‘Long March’ to Tinseltown By LIU WEI in shanghai “It is a long way to go,” he [email protected] says, “but I believe as the Chi- nese = lm market keeps growing The next Kung Fu Panda so fast, it is totally possible that will be the brainchild of both Chinese capital will hold shares American and Chinese film- in the major six Hollywood stu- makers and production will dios. It is just a matter of time.” start in August, says Peter Li, China’s Wanda Cultural managing director of China Group is one of the pioneers Media Capital, co-investor of in this process. In 2012 Wanda Oriental DreamWorks, a joint acquired AMC, the second venture with DreamWorks largest theater chain in North Animation. America, for $2.6 billion. CMC co-founded Oriental What Ye Ning, the group’s DreamWorks in 2012 with vice-president, has learned DreamWorks, Shanghai Media from the following integration Group and Shanghai Alliance is, = rst of all, trust and respect. Investment, with the aim of “The managing team of CHARACTER BUILDING producing and distributing ani- AMC was worried that we mated and live-action content would send a group of yellow PHOTO BY SUN CHENBEI / CHINA DAILY for Chinese and global markets. faces to replace them,” Ye says, From le : Li Xiaolin, president
    [Show full text]
  • List of Action Films of the 2010S - Wikipedia, the Free Encyclopedia
    List of action films of the 2010s - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/List_of_action_films_of_the_2010s List of action films of the 2010s From Wikipedia, the free encyclopedia This is an incomplete list, which may never be able to satisfy particular standards for completeness. You can help by expanding it (//en.wikipedia.org /w/index.php?title=List_of_action_films_of_the_2010s&action=edit) with reliably sourced entries. This is chronological list of action films originally released in the 2010s. Often there may be considerable overlap particularly between action and other genres (including, horror, comedy, and science fiction films); the list should attempt to document films which are more closely related to action, even if it bends genres. Title Director Cast Country Sub-Genre/Notes 2010 13 Assassins Takashi Miike Koji Yakusho, Takayuki Yamada, Yusuke Iseya Martial Arts[1] 14 Blades Daniel Lee Donnie Yen, Vicky Zhao, Wu Chun Martial Arts[2] The A-Team Joe Carnahan Liam Neeson, Bradley Cooper, Quinton Jackson [3] Alien vs Ninja Seiji Chiba Masanori Mimoto, Mika Hijii, Shuji Kashiwabara [4][5] Bad Blood Dennis Law Simon Yam, Bernice Liu, Andy On [6] Sorapong Chatree, Supaksorn Chaimongkol, Kiattisak Bangkok Knockout Panna Rittikrai, Morakot Kaewthanee [7] Udomnak Blades of Blood Lee Joon-ik Cha Seung-won, Hwang Jung-min, Baek Sung-hyun [8] The Book of Eli Albert Hughes, Allen Hughes Denzel Washington, Gary Oldman, Mila Kunis [9] The Bounty Hunter Andy Tennant Jennifer Aniston, Gerard Butler, Giovanni Perez Action comedy[10] The Butcher, the Chef and the Wuershan Masanobu Ando, Kitty Zhang, You Benchang [11] Swordsman Centurion Neil Marshall Michael Fassbender, Olga Kurylenko, Dominic West [12] City Under Siege Benny Chan [13] The Crazies Breck Eisner Timothy Olyphant, Radha Mitchell, Danielle Panabaker Action thriller[14] Date Night Shawn Levy Steve Carell, Tina Fey, Mark Wahlberg Action comedy[15] The Expendables Sylvester Stallone Sylvester Stallone, Jason Statham, Jet Li [16] Faster George Tillman, Jr.
    [Show full text]
  • China's Year in Review
    2017 China's Year in Review Follow China Intercontinental Press Us on Advertising Hotline WeChat Now 城市漫步珠 国内统一刊号: 三角英文版 that's guangzhou that's shenzhen CN 11-5234/GO JANUARY 2018 01月份 that’s PRD 《城市漫步》珠江三角洲 英文月刊 主管单位 : 中华人民共和国国务院新闻办公室 Supervised by the State Council Information Office of the People's Republic of China 主办单位 : 五洲传播出版社 地址 : 北京西城月坛北街 26 号恒华国际商务中心南楼 11 层文化交流中心 11th Floor South Building, Henghua lnternational Business Center, 26 Yuetan North Street, Xicheng District, Beijing http://www.cicc.org.cn 社长 President: 陈陆军 Chen Lujun 期刊部负责人 Supervisor of Magazine Department: 邓锦辉 Deng Jinhui 编辑 Editor: 朱莉莉 Zhu Lili 发行 Circulation: 李若琳 Li Ruolin Senior Digital Editor Matthew Bossons Shenzhen Editor Adam Robbins Guangzhou Editor Daniel Plafker Shenzhen Digital Editor Bailey Hu Senior Staff Writer Tristin Zhang Digital Editor Katrina Shi National Arts Editor Erica Martin Contributors Ned Kelly, Betty Richardson, Lena Gidwani, Dr. Adam Koh, Mia Li, Katrina Shi, Dominic Ngai, Erica Martin, Dominique Wong, Bryan Grogan, Kheng Swe Lim, Paul Barresi, Sky Gidge HK FOCUS MEDIA Shanghai (Head Office) 上海和舟广告有限公司 上海市蒙自路 169 号智造局 2 号楼 305-306 室 邮政编码 : 200023 Room 305-306, Building 2, No.169 Mengzi Lu, Shanghai 200023 电话 : 传真 : Guangzhou 上海和舟广告有限公司广州分公司 广州市麓苑路 42 号大院 2 号楼 610 室 邮政编码 : 510095 Rm 610, No. 2 Building, Area 42, Luyuan Lu, Guangzhou 510095 电话 : 020-8358 6125 传真 : 020-8357 3859 - 816 Shenzhen 深圳联络处 深圳市福田区彩田路星河世纪大厦 C1-1303 C1-1303, Galaxy Century Building, Caitian Lu, Futian District, Shenzhen 电话 : 0755-8623 3220 传真 : 0755-6406 8538 Beijing 北京联络处 北京市东城区东直门外大街 48 号东方银座 C 座 G9 室 邮政编码 : 100027 9G, Block C, Ginza Mall, No.
    [Show full text]
  • 中国电影周展播候选片目- List of Film
    中国电影周展播候选片目 List of film 1. 十二生肖 12 Chinese Zodiac 2. 大武当之天地密码 Wu Dang 3. 被偷走的那五年 The Stolen Years 4. 太极 1 从零开始 Tai Chi 1 : Zero 5. 太极 2 Tai Chi 2: Hero 6. 画皮 2：Painted Skin 2 7. 全民目击 Silent Witness 1、《十二生肖》12 Chinese Zodiac 导演 Directed by 成龙 Jackie Chan 编剧 Screenplay by 成龙 /唐季礼 /邓景生 /陈勋奇 Jackie Chan, Stanly Tong, Edward Tang, Frankie Chan 剧情介绍 STORYLINE 当年英法联军火烧圆明园，致使大批珍贵文物流落海外，其中四尊十二生肖 兽首最引人关注，不仅惹出国内外的广泛争论，更有收藏家开出天价竞拍这几尊 珍品。当然，其间不乏奸邪的文物贩子，试图通过偷盗的手段获取宝贝。以此为 契机，正在度假的国际大盗 JC（成龙 饰）隆重登场。JC 背后有一支 Simon（权 相宇 饰）、David（廖凡 饰）、Bonnie（张蓝心 饰）等人共同组成的超专业团 队，他们一同远赴巴黎，寻求国宝鉴定专家 Coco（姚星彤 饰）的帮助。经过周 密细致的准备，JC 等人一步步逼近重兵把守的兽首，而围绕珍宝不可避免爆发 连番惊险火爆的打斗与追逐。 在这一过程中，JC 似曾被利益和金钱泯灭的爱国之心渐渐苏醒…… In 1860, the Old Summer Palace was looted and destroyed by British and French soldiers, and a large number of treasures were shipped overseas. Among them, four bronze heads of the animals of the Chinese zodiac have attracted the most attention and provoked widespread debate both at home and abroad. Some collectors have offered extremely high prices for them, while many vicious antiquity dealers try to steal the treasures. JC (starring Jackie Chan), an internationally renowned thief, comes to the stage. JC and his partners, Simon (starring Kwon Sang-woo), David (starring Liao Fan), and Bonnie (starring Zhang Lanxin), make a super professional team. They travel to Paris to seek the help of Coco (starring Helen Yao), an expert on evaluating treasures. With careful preparations, JC and his team get closer and closer to the heavily guarded bronze heads, and a series of thrilling fights break out.
    [Show full text]
  • View This Page
    16 發光的城市 A R O U N D T O W N FRIDAY, APRIL 9, 2010 • TAIPEI TIMES FILM REVIEW OTHER RELEASES COMPILED BY IAN BartHOLOmeW Precious Precious: Based on the Novel ‘Push’ by Sapphire Something’s rotten in to give the film its full Something’s rotten in title, is not easy to watch, but if you are looking for a cinematic experience to challenge glib optimism about the human condition, this is the movie for you. The performance by Gabourey Sidibe as the title character, an overweight, illiterate teen who is pregnant with her second child, has already garnered intense critical acclaim, and other performances, including those by comedian Mo’Nique SwedenSweden as Precious’ mother and, startlingly, Mariah Carey, as a social worker, seem all of a piece for a movie that is A disgraced journalist and a tattooed hacker on track to becoming a definitive work about the early 21st-century American experience. Precious picked with scores to settle investigate a series of up two Oscars, a remarkable achievement for a film that skirts the edges of art house. But be warned: In grisly murders in this sadistic Agatha Precious, hope is a distant and difficult prospect. Christie-style mystery The Crazies BY IAN BartHOLOmeW STAFF REPORTER It is a question why George Romero would wish to preside over this inept remake of his own 1973 classic of the same name. Romero, who has an executive producer credit for this film, seems content to watch Breck Eisner, the director of such innocuous adventure fare as Sahara (2006), labor through yet another predictable take on the zombie genre.
    [Show full text]
  • Dong Fotios Lin 2015 Facial Recognition Luminance and Duration WHITE
    This is a repository copy of The influence of luminance, observation duration and procedure on the recognition of pedestrians faces. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/90743/ Version: Accepted Version Article: Dong, M., Fotios, S. and Lin, Y. (2015) The influence of luminance, observation duration and procedure on the recognition of pedestrians faces. Lighting Research and Technology, 47 (6). 693 - 704. ISSN 1477-1535 https://doi.org/10.1177/1477153514539781 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ The Influence of Observation Duration and Procedure on Luminance Required for Recognition P F Mengdi Dong 1, Steve Fotios 2, Yandan Lin 1* 1 Institute for Electric Light Sources, Fudan University; Engineering Research Center of Advanced Lighting Technology, Ministry of Education; Shanghai 200433, P.R.
    [Show full text]
  • Heep Yunn School
    Heep Yunn School EE1418`Q12.22mbohvbhf/joee!!!21418`Q12.22mbohvbhf/joee!!!2 440803118!!!26;66;260803118!!!26;66;26 2 Language Arts 58th Hong Kong Schools Speech Festival Solo Verse Speaking Bible Reading Jasmine Wong 1A 1st Jenny Chan 5B 1st Steffi Ng 1B 1st Emily Chan 5E 1st Eden Tsang 1D 1st Tiff any Chu L6S 1st Suki Cheuk 2E 1st Iris Ng 3D 1st Sabrina Yiu U6A 2nd Jenny Chan 5B 1st Sandy Leung 5C 1st Samantha Cheung 2A 3rd Victoria Yeung 5B 3rd Ruby Lee 1B 2nd Maisie Tsang 5D 3rd Gillian Yu 1C 2nd Tina Yuen 5E 3rd Janice Yuen 1D 2nd Anna Chan L6A 3rd Rhody Chan 4D 2nd Vanessa Tse L6B 3rd Venetia Wan 4D 2nd Shirley Chau L6S 3rd Carolyn Chong U6A 3rd Vanessa Mok 2B 3rd Jennifer Chuen 3A 3rd Janice Nam 3D 3rd Public Speaking Solo Jessica Ip 4B 3rd Yolanda Liu 5E 1st Judy Yeung 4B 3rd Abigail Tam 4C 3rd Clare Huang L6S 3rd Jade Chan 4E 3rd Dramatic Duologue Prose Reading Christie Lin 2A Enid Lau 2A 1st & Rachel Li 2A 3rd Jasmine Leung 2C 1st Teresa Li 5D Tiff any Lee L6B 1st & Gwendolin Sze 5D 3rd Joyce Szeto L6A Elena Kwong 4D 2nd & Kayla Ha L6S 3rd Charmaine Chow 5B 2nd Jessica Poon 5D 3rd EE1418`Q12.22mbohvbhf/joee!!!31418`Q12.22mbohvbhf/joee!!!3 440803118!!!26;66;270803118!!!26;66;27 3 Public Speaking Team Sadie Lau U6A 1st Tiff any Cheung 5D 3rd Jessy Lee U6A Angel Kong 5D Angie Leung U6A Vivian Mak 5D Eunice Chu U6B 1st Crystal Ho L6B 3rd Vanessa Mok U6B Tiff any Lee L6B Cecilia Poon U6B Grace Kwok L6S Mandy Chan 3A 2nd Esther Chu 3A Th ematic Group Speaking Jennifer Chuen 3A 4D 1st Stephanie Cheng 3A 2nd Helen Cheng 3A Rehearsed Original
    [Show full text]
  • San Qiang Pai an Jing Qi
    Berlinale 2010 Zhang Yimou Wettbewerb SAN QIANG PAI AN JING QI A WOMAN, A GUN AND A NOODLE SHOP A WOMAN, A GUN AND A NOODLE SHOP A WOMAN, A GUN AND A NOODLE SHOP Volksrepublik China/ Darsteller Hongkong, China 2010 Zhang Sun Honglei Li Xiao Shenyang Länge 95 Min. Wangs Frau Yan Ni Format 35 mm, Wang Ni Dahong Cinemascope Zhao Cheng Ye Farbe Chen Mao Mao Stabliste Regie Zhang Yimou Buch Xu Zhengchao Shi Jianquan, nach dem Film BLOOD SIMPLE von Noel und Ethan Coen Kamera Zhao Xiaoding Schnitt Meng Peicong Sounddesign Tao Jing Musik Zhao Lin Szenenbild Han Zhong Xiao Shenyang Art Director Xie Ze Produktionsltg. Huang Xinming Produzenten Zhang Weiping A WOMAN, A GUN AND A NOODLE SHOP Bill Kong In einem kleinen Wüstennest am Jiayu-Pass unweit der Chinesischen Mauer Gu Hao betreibt Wang eine kleine Nudelküche, in der er mit seiner Frau und den Co-Produzent Bill Kong An gestellten auch lebt. Doch mit Wang ist das Zusammenleben wenig an - Gu Hao genehm. Er ist ein Geizhals, der nur an sich denkt und seinen Ange stell ten Ausführender Produzent Zhang Zhenyan oft monatelang keinen Lohn zahlt. Auch seine Frau leidet unter diesem Co-Produktion Film Partner 2009 Haus tyrannen, doch eine diskrete Affäre mit Li, dem schüchternen Koch, International, Inc., lässt sie ihr Los ertragen. Immer, wenn sie neues Rouge braucht und Li seine Hong Kong Chefin in die Stadt fahren muss, haben sie Sex. Eine schöne Angewohnheit, die nicht unbemerkt bleibt. Kurz zuvor hat Lis Geliebte bei einem persi- schen Händler ein Gewehr gekauft und es dem Koch zur Aufbewahrung ge geben.
    [Show full text]